This projected-fresco-painting-as-video-game abstractly investigates the ambivalences and concerns of an art student in a time of a war (never mentioned or discussed by my peers because most students knew no soldiers in their social circles) working within a former military industrial complex testing facility (Art Center College of Design's South Campus Wind Tunnel, in Pasadena CA) where delivery systems for weapons of mass destruction were tested and designed.

Does being an artist in a building loaded with that history suggest complicity to war in general? When structures' inherent backstories are obscured and co-opted, how can artists confront cultural complicity to avalanches of distractions from every front? Using large-scale painting-in-motion projections and a soundtrack only accessible by cellphone, Disinformation Breakdown identifies multiple elephants in the room for mass consumption, but most specifically the cultural impact of the redaction of war from public awareness. A sound montage from Painters Painting (1972) -- in which all references to art were redacted in accordance to the video being built from marks of redaction (splatter, blur, mosaic, static)-- was played on a toll free number accessible only by cellphone, the very instrument being used to kill soldiers in the field as triggers for IED's (improvised explosive devices).

In 2011, this work was shrunk down by 1/2 (from 15' x 60' to 8' x 27') to fit into the context of a New Delhi group show, "hanging" with paintings and sculptures outside the black box. This was the first work in which I animated paintmarks to drive the work as a whole.